STYLIANI KERAMIDA Royal Holloway, University of London, Egham, Surrey a Thesis Submitted for the Degree of Doctor of Philosophy
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View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Royal Holloway - Pure TECHNOLOGY, THEATRICAL AESTHETICS AND THE CHANGING ROLE OF THE DIRECTOR STYLIANI KERAMIDA Royal Holloway, University of London, Egham, Surrey A Thesis submitted for the degree of Doctor of Philosophy in Drama and Theatre Studies 2013 Declaration of Authorship I, Styliani Keramida, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Styliani Keramida Date: 6 March 2013 3 ABSTRACT Technology has long ago been acknowledged as one of the leading components in the work of modern theatre directors. However, little attention has been paid to the specific medialities of technology into the formation of directing models and their crucial contribution to the development of the role of the theatre director. This research sets out to examine and compare the directorial work of three well-known directors (Elizabeth LeCompte, Robert Lepage and Katie Mitchell) relating to the use of the medialities of technology and technology’s impact on the production of particular theatrical aesthetics, as well as to the developmental identity of the aforementioned three directors. It also presents a historical background of key issues surrounding the relationship between director’s theatre and technology, and formulates a homogenous systematic theoretical framework by discussing major premises of this specific type of director’s theatre. In an attempt to extend previous efforts to formulate directing theatre theories based on acting systems and dramaturgy, a methodological approach is adopted based on data (such as printed and audio-visual material, attendance at productions and rehearsals, as well as training in courses on media arts, directing, production and stage management, lighting and sound design, philosophy and film theory) in order to study the theatrical effects of the use of technology. This thesis 4 argues that the directing models of fragmentary technology, totalising technology and technological hybridisation through three key techniques, namely the use of technology-based collaborators, old and new media and techno-acting, manifest the development of the role of the director within a trajectory from mediality to multi-mediality and inter-mediality. The findings suggest that an important dialogue between the three models exists and that even though the three directors have used differing theatricalities, a significant development of their roles as directors suggests the inextricable link between theatre directing and technology. The findings indicate that technology should be granted a greater recognition by theatre scholarship for the development of the role of the theatre director and that the formation of a homogenous theatre theory from the point of view of directing and technology should be examined as one of the most significant criteria for researching theatre directing today. 5 AKNOWLEDGEMENTS An immense thank you is directed to my supervisor Professor Katie Normington (Vice Principal and Dean of Arts, Royal Holloway, University of London), because her guidance throughout my PhD journey was invaluable and life changing. Professor Normington’s constructive criticism on my writing enabled me to structure my thoughts, sharpen my analytical thinking, have a clearer view of the developing of my argument and improve my academic writing. She gave me the freedom to develop my ideas and find my own way. Driven by genuine interest in my research, she provided invaluable feedback on my work and perspicacious comments that combined inspiring rigour as well as the appropriate and necessary focus on the particularities of my topic. She was always willing to address all my concerns as well as every point I raised regarding my research, both major and minor ones. I would not have been able to complete my thesis without her diligent guidance and great support. I would like to thank the late Professor David Bradby who was actually the reason for me joining the University of London and particularly the College of Royal Holloway. Professor Bradby was the first person to contact when I initially decided to pursue a degree in the UK. His books on directing were always an inspiration for me, from the time when I was a student of Theatre Studies at the University of Athens. He was such an experienced academic and exceptional 6 theatre scholar that even since the writing of my first chapters, when I was still excessively fascinated to accumulate knowledge, he saw through all this storm of ideas, unpacked the originality of my argument and envisioned the whole thesis long before its current form. It is an honour for me to have been one of his last students. Another person I wish to thank is my exceptional advisor Professor Chris Megson who took over immediately after Professor David Bradby’s retirement, and who continued the latter’s brilliant guidance. I am very grateful for that. With special knowledge on issues of directing and contemporary theatre he has broadened and deepened my understanding of my research immeasurably. He provided me with productive feedback, something that proved to be necessary in order for me to balance my research and writing. I wish to thank the two additional co-advisors Professors Sophie Nield and Karen Fricker, whose comments on the thesis’s chapters indicated very clearly how I could improve the quality of my writing. I would like to thank Professors Brian Singleton and Christie Carson for being my thesis examiners. Their valuable suggestions and corrections to this work have greatly helped me to improve it in various aspects. 7 This dissertation would not have been possible without the exceptionally valuable financial support I have received from the State Scholarship Foundation (IKY) in Greece. I would like to thank all members of the foundation, including Professor Hara Bakonikola (University of Athens), for providing me with the opportunity and financial assistance to pursue my PhD research. I am grateful to Ms Katie Mitchell, associate director at the Royal National Theatre, for the permission to observe her rehearsals. Mitchell’s directing has been a huge inspiration for me, influencing not only my research but also my practice as a director. I would also like to seize the opportunity to thank Ms Laura Thatcher, stage manager, as well as Ms Vicky Mortimer, set designer, and the actors of the RNT company for addressing so kindly and willingly my questions during rehearsals. The creation of my research project involved people to whom I am also very grateful. These people are: Nick Hunt from whom I learned a lot about the role and significance of the lighting design, Rhys Davis from whom I learned about the functionality of the sound design, and, of course, Gail Pearce, who introduced me to the realm of contemporary media art. All of them, tutors at Royal Holloway, who combine successful professional practice and theoretical knowledge, dedicated much of their time in discussing with me the practical implications of my research. 8 Additionally I would like to thank Royal Holloway, University of London, and especially Dr. Gary Nichols, for providing me with the opportunity and the necessary funding to conduct part of my research in the US, at Yale University. I would also like to thank the Graduate School at Yale University for allowing me to do so. I also wish to thank the professors who were my tutors during my studies at Yale University in the US: Professors Katalin Balog (Philosophy of Mind), Millicent Marcus (Film Theory), Daniel Larham (Visionary Theatre) and, last but not least, Professor Joseph Roach who accepted me into his working group on Yale University’s World Performance Project, and I thank him for that. Our discussions on the field of performance studies were not only interesting to listen to, but they were also very illuminating for my research. I would also like to thank Elizabeth Cardone, who has brilliantly broadened and deepened my understanding of all the complications of production management, and Mary Hunter, Bronislaw Sammler, and Alan Hendrickson, who gave me insightful information about stage management, technical design and production, and mechanical design for theatre applications. An immense thank you to the Professors Steve Dixon, David Krasner and Murray Biggs, practical philosophers of theatre and performance, all of whom I had the pleasure of meeting during my studies and who have broadened tremendously my understanding of the relationship between directing and 9 technology with their illuminating discussions and reflections. I am most grateful for the opportunity I had to discuss these issues with and obtain theoretical clarification from Prof. Krasner on a number of occasions in his capacity as my advisor during my research studies at Yale University. Another person who supported me greatly and massively as a friend, mentor, and teacher is Professor Lila Maraka (University of Athens) who has always been a role model for me as a theatre studies scholar. Many thanks go to Etain Casey, Deanne Fernie, Sally O’Gorman who have helped me with their comments to improve my writing. I would also like to thank Francesca Chiarelli and Alexandra Stanton for all their support. I am also extremely grateful to my dearest friends Laura Higgins, Charlotte Jorgensen, Zara Naghizadeh, Anna Maria Piskopani, Pai-Kai Su, Deidre Warden and Simos Xenitellis not only for their emotional support but also for providing very useful feedback on my writing. I would like to thank my dearest parents Petros Keramidas and Sotiria Keramida, my sister Nayia Keramida and my grandmother Vassiliki Tseva for supporting the completion of my PhD thesis in every possible way. I will always feel deeply grateful for their help and support. 10 Finally, I would like to dearly thank my husband Athanassios E.